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Editor L. K. has just returned from a hectic month of the BLUES in
Europe with Victoria Spivey and a superlative blues troupe who
covered 22 cities in 8 countries. A series of articles is now in
preparation. See Spivey's column in this issue for her own views
EDISONIA
THE FIRST LONG PLAYING DISC RECORD
EDISON LONG PLAYING ISSUES
24 MINUTE RECORDINGS
11088 7/6/i6 - B0HXJIAN GIRL - Then you'll i
Edna Vihlte, trumpet
[ 12023 A, B, C 2/27 V
, Burt & Hayes
& Hayes; F,G 8/20/26
r^iiiML^u yy i
10001 - mx 12002 A,B,C {Old number Exp. #B6) 8/11/26 <Kt
Werner, Burt & Hayes.
CARMEN - Selections - American Concert Orchestra
Taken from masters 11119 ;1U20;111R1
mx 12003 A,B,C 8/23/26 Hayes & Burt
AIDA - Selections - American Concert Orchestra
Taken from masters 11135,111.16,11157
n 12004 A,B,C 8/ 25/ 26 Burt Sr Hayes
RECOLLECT IUNS FROM GILBEKT & SULLIVAN - Herbert Soman's Salon Ore,
as follows
11112 A,B,C 7/21/26 rej.; F,G,H 7/E0/26 H.M.S. PTNAF0RE-
I'm called little Buttercup; A maiden fair to see) fthen
I *as a lad; Farenell, my oim
11124 A,B,C - PIRATES OF PENZANCE - When Fred'rlc was a little
lad; Oh Is there not one maiden breast; Poor nand'rlng one;
When a felon's not engaged in his employment; When the
foeraan bares his steel
11125 A,B,C - THE MIKADO - A wandering minstrel Ij Three little
melds from school; The floiiers that bloom in the Spring; Tit
willow; Behold the Lord High Executioner.
c 12005 A,B,C,F made 8/ 21/ 26 Tlerner, Burt & Hayes
MEMORIES OF VICTOR HEKBERT - Herbert Soman's Salon Orch.
as follows
11129 A?B,C 7/28/ 26 NAUGHT* MARIETTA- Vm falling in love
with someone; RED MILL- Because you're you; MLLE. MODISTE.-
KIfs me again
11383 - Hel lo Bluebird - FT
Kaplan's Melodists
11295- In a little Spanish town - walta
Hotel Commodore Dance Orchestra directed by B. Levltow
: 120E2 A,B,C 2/27 1
, Burt & Hsyes
11411 - Rhapsodic Russe - F.T. - Overture featuring Volga Boat Song
and Tschalkonsky's 1812 (Joseph Nuesbaum) - Harold Veo & his
Arrowhead Inn Orch.
11478 - Oriental moonlight - Ft Romance (hi. Smolev & B. Seaman)
Ernie Golden & his Hotel McAlpln Ore.
11373 - Clap yo' hands - Slow FT (from Oh, Kay!) (Ira & George
Gershv.in) Hotel Commodore Dance Ore. under Dlr. of B. LevU™
B802 - All hail the power of Jesus' work (Holden)
Metropolitan Quartet
6488 - Old Rugged Cross (Bennard)
Helen Clark & Roy Roberts
52B4 - Onward Christian Soldiers! (Sullivan)
Calvary Choir & Choir Boys of St. Andrew's Church, H.K.
111.10 A,.
- BABES IN TOILAND - March of the toys
11131 A,B,C FORTUNE- TELLER- Dance (Gavotte); Gypsy love
song; Czardas
10O0S mx 12006 UBi
11095 I
ie 8/ 10/ 26 Uerner A Hayes
i,C & 11096 A,B,C 7/9/26 VB8PRI SICILCANI- Overture
11103 A,B,C 7/16/26 B0ABDIL- Malaguena (Moszkowskl)
Both selections by the American Concert Orchestra
.Tix 12007 A & B (Old number Exp. #84) B/9/26 Werner & Hayes
11051 A,B,C & 11052 A,E,C 6/18/26 - fcANON Selections
11104 A,B,C 7/16/26 C0PPELIA- Festival dance & Valse of the
Both selections by the American Concert Orchestra
: 12008 A,B,C (Old number Exp, #67) 6/22/ 26 Vie?
2497 - Cupud'e Pranks - Caorice (K. Etahl)
Edison Loodwlnd Ensemble ( on marking sheets as Reed Orch. -
Amberol Cylinder as Edieon Concert Band (Reed only)
mx 12.009 A & B (Old number Exp. #51 ) 5/3/26 Werner, Burt & Hayes
I ) 9717 A,B,C 9/1B/24 - La Belle Cubana - Habanera f\
U Trio Cubano (1st violin, 2nd violin & piano) \ 1
B825 - Spanish Dance # 7 (Earasate)
Albert Spalding, violin, ace. by Andre Benolst, piano
I I 2634 - Ctgorleres - Habanera
' ' Edison ft'oodalnd Enseittble ( on working sheets as Reed Orch. ■
on Amberol Cylinder as Edison Concert Band (Reed only)
t 12010 A ft B (Old number Exp. #77) 7/ 21/26 Werner, Burt & Hayes
2530 - Amoureuse Valse (R. Berger)
American Concert Orchestra ( on working sheets as String Orch.)
9470 - 4/17/24 Dance Hongrolse - Transcription ( Ring - Hager, tr.
by Rudy Medoeft) Rudy Medoeft, saxophone; Frank Bnnta, platea
£222 - Serenade - Spanish haltz (0. Metre)
American Concert Orchestra ( on working sheets as Brass Orch.)
6/27 Werner, Burt & Hayei
8953 - After toiling Cometh rest (Blake)
Betsy Lane Shepherd & Male Chorus
2327 - come all ye faithful (Adeste Fideles) (Reading)
Metropolitan Quartet
: 1 2037 A 6 B 5/27 We:
11587 - Robin Hood - Oh! Promise c
B.A. Rolfe, trumpet virtuoso
. 12018 A & B 5/27 Werner, Burt & Hayes
11516 - Hy Lady' a Boudoir - Suite (Luella Lockwood Moore)
i. Chiffon, 2. Lace
11E17 - Same - Z. Perfume, 4. High heels and buckles
B. A. Rolft & his Concert Orch.
11588 - Don't be cross (Carl Heller)
B. A. Rolfe, trumpet vlriuouo
In 1926 the Edison Company in order to combat declining sales decided to laun
the FIRST LONG PLAYING DISC RECORD. These were made by maintaining fhe
record speed at 80 rpm but by narrowing fhe grooves to 400 per inch (the finest
grooves ever issued commercially). These records required a special adapter and
needle for the Edison machine. Partially because of a lowered volume lever and
delicate grooving the records were not a commercial success and are quite rare
today. The last 12 inch issue was taken from electrically recorded masters. There
are no selections of more than 5 minutes on the issued records although fhe Beetho\
ibuted to dealers as a sample to determine the
possibility
Future
ailments will Include data on fhe 40 rr
V^r Note
'ecord and fhe unissued
John me
LONDON'S SONG AND DANCE MEMORIES OF
NOT-SO-LONG-AGO
JACK BUCHANAN and JESSIE MATTHEWS
To their everlasting shame, the majority of the original per-
formances in musicals, musical plays, operettas and vaudeville
remained unwaxed by the recording concern through most of the
lush years of the golden twenties and sparkling thirties. Thanks
to their indifference, nothing or almost nothing remains of the
original performances of SALLY, SUNNY, FUNNY FACE, CAT
AND THE FIDDLE, MUSIC IN THE AIR, ANYTHING GOES, OF
THEE I SING, BAND WAGON, DUBARRY WAS A LADY, the
many editions of the FOLLIES, Berlin's MUSIC BOX REVUES and
countless others but fond memories. .. and memories lose their
perspective as the performance recedes into the darkening past.
Oh, . .there were token examples to whet the appetite: One side-
imagine --ONE!... by DENNIS,, KING Of\SONG OF THE VAGA-
BONDS, coupled with ONLY A ROSE by CAROLYN THOMPSON;
FRED ASTAIRE and CLIFTON WEBB were invited to do. vocal
choruses of a few of their hit numbers. . .with currently popular
dance bands. From all I can learn, MARILYN MILLER, with a '
career spanning close to two decades, was never recorded in any-
thing at all. Fortunately, when FRED ASTAIRE took himself off
to the movies, with soundtracks well established, practically all
of his work since 1933 exists, even if much of it is now unavail-
able, and in duplicate: In his heyday, there were no soundtrack
albums, therefore what he had already done for camera and needle
was largely repeated on commercial records. There never has
been anyone to come within miles of ASTAIRE: GENE KELLY
came closest on the Hollywood scene, but his dancing lacked the
striking originality and his singing the "just right"-ness that
ASTAIRE inevitably produced in his songs.
I was reminded of London's counterpart to FRED ASTAIRE by a
recent release on English Decca's lower-priced ACE OF CLUBS
label: from the thirties, a set of reissues on one side by JACK
BUCHANAN and on the other, JESSIE MATTHEWS. Interesting
examples that no personality collector would pass by, and priced
at the equivalent of R.C. A. 's Camden label, but of course not
available in the U.S.
Both English stars were well-known over here, from Broadway
appearances and, largely, film musicals of the thirties. BUCHA-
NAN was ASTAIRE's equal in one thing: his polished suavity,' and
his dancing and singing were fine, if not in Fred's league.
On this record, ACL 1140, we are given seven selections from
Jack and from Jessie. The recording is amazingly good and most
of the music amazingly bad, most of it by the sajne tunesmiths,
a caricature of the sparkling nuggets being simultaneously struck
off for ASTAIRE AND ROGERS by GERSHWIN, KERN, BERLIN and
PORTER. Some of these embarrassing titles were EVERYTHING
STOPS FOR TEA, I'M IN A DANCING MOOD, LET'S PUT SOME
PEOPLE TO WORK, THIS'LL MAKE YOU WHISTLE, THERE ISN'T
ANY LIMIT TO MY LOVE, all of which BUCHANAN does much
better than they deserve. Actually, although he was a recording
artist only spasmodically, his few earlier efforts from the London
stage and films were much, much better than the exclusively film
selections on this new release. His first record with which I am
familiar is a 12" pairing of two hits from SUNNY: WHO, on which
he duets with the charming BINNIE HALE, and LET'S SAY GOOD-
NIGHT, done with a popular record and variety hall songstress *
who shared several disks and personal appearances with JACK
BUCHANAN through the years--ELSIE RANDOLPH.
About the same time, Buchanan appeared on the London sta.ge
in anEnglish musical that never crossed the sea; THAT'S A GOOD
GIRL, and from it he recorded the four featured songs: SWEET
SO-AND SO/CHIRP CHIRP, both with ELSIE RANDOLPH and
PARTING TIME/MARCHING SONG, with a chorus and RAYMOND
NEWELL. All of these were done for ENGLISH COLUMBIA.
His next big hit was the flavorsome continental film, GOOD
NIGHT, VIENNA, which had music good enough to be compared
to Oscar Straus, although by the popular English composer,
Posford. This film, which was released in the U. S. as MAGIC
NIGHT, had some stunning songs, of which BUCHANAN did the
two lilting melodies, GOODNIGHT, VIENNA and LIVING IN
CLOVER . . . accompanied, I feel sure, by none other than a RAY
NOBLE group, which makes this something of a collector's item.
It is on HM V B-4083, and may in fact be the star's best record.
Shortly before this, BUCHANAN had gone to Hollywood,
where he played the lead in what is unquestionably one of the
handful of great musicals of all time: Lubjtsch's shimmering,
sparkling, super-sophisticated MONTE CARLO, with JEANETTE
MACDONALD. For originality, humor and magnificent music it
has never been topped. Time and repetition may appear to have
taken the edge off it. but really BEYOND THE BLUE HORIZON,
by RICHARD WHITING, is one of the most refreshing, melodious
and inventive songs ever penned in the popular idiom, and
Lubitsch's dynamic use of the then new sound medium to exploit
its potential remains one of the wonders of Hollywood, the like
of which has' almost never been duplicated. The other songs are
almost as good: ALWAYS IN ALL WAYS, WHATEVER IT IS, and
the song that was RUBINOFF'S radio theme for so many years,
GIVE ME A MOMENT PLEASE. All in all, as outstanding an
original film score as you could find until, a quarter of a century
later, RAYE AND DePAUL created the wonderful SEVEN BRIDES
FOR SEVEN BROTHERS melodies.
Although JEANETTE MacDONALD recorded the two hit songs
from MONTE CARLO, BUCHANAN'S share in the delightful doings
were passed by. One would think that HMV would have preserved
this performance for the European fans who were so much more
familiar with him, but they failed to.
Other stage and screen appearances followed these, but for
the most part they were greatly inferior, as the selections on the
ACE OF CLUBS ' LP will attest, although there were several that
were by no means as ineffectual as the current reissues, and per-
haps HMV will sometime again make available some of the other
better BUCHANAN groovings such as the 12" BUCHANAN MED-
LEY, YES, MR. BROWN, LEAVE A LITTLE FOR ME, WEEP NO
MORE MY BABY, YOU FORGOT YOUR GLOVES, ALONE WITH
MY DREAMS, and some of the charming duets he did with ELSIE
RANDOLPH: FANCY OUR MEETING, NOW THAT I'VE FOUND
YOU, OCEANS OF TIME, WHO DO YOU THINK YOU ARE, LIKE
MONDAY FOLLOWS SUNDAY ... many of them show tunes that,
inpidentally, Noble fans may remember in dance versions by
Noble withAlBowIlytaking most of the choruses; in fact, althqugh
I have not heard many of these, I feel certain that Noble did' the
Buchanan accompaniments, since I recognize his technique >n the
ones I do have.
The only Buchanan appearance on wax since those days, to
my knowledge, is on the soundtrack album of the lively and any-
thing but literal recreation of BAND WAGON, which M.G.M*.
did with FRED ASTAIRE ... and imported JACK BUCHANAN to
give us the lone sample of teamwork involving these two parallel
personalities. They made a delightful team, and although there
is no Buchanan solo, he does the wonderful I GUESS I'LL HAVE
TO CHANGE MY PLAN with ASTAIRE, and shares another coupie
of numbers with ASTAIRE and NANETTE FABRAY: TRIPLETS and
THAT'S ENTERTAINMENT. If: there were other Buchanan' record-
ings after this, 1 have no knowledge of them, and he died a few
years afterwards. He did many notable songs in his day, intro-
ducing some of them on Broadway in CHARLOT'S REVUE, WAKE
UP AND DREAM, BETWEEN THE DEVIL and others.
(To Be Continued)
Victoria Spiveu
Blues
Is My Business
One of the happiest months of my life! I have had many
Bands and Shows, but I'm telling you, few have measured up to
the wonderful people I have had the honor of working with in the
German Folk -Blues Festival which played 31 days from Oct. 23
thru Nov. 22, 1963 through 8 countries and 22 cities. Everybody,
the bosses, the managers, the producers, the blues stars, all were
just great!
First blues star was Big Joe Williams, a sweetheart, spoiled
and funny as hell, but a star through and through. He was the
'father' of the blues in this show.
Second was Big Willie Dixon who was a 'bad' man not only
with that bass but when he sang his 'Nervous Man' which about
knocked everybody out. Personally, he's a sweet good natured
soul with a heart as big as he.
Third, there was Lonnie Johnson who is so sad looking at times
that you just can't help loving him - and when he starts singing
and wailing that guitar, watch out! ! He's a champ.
Fourth, there's the dynamic Sonny Boy Williamson, I'm
speaking of the original Sonny Boy, who looks like an aristocrat
with his English derby, suit and umbrella, but my! my! when he
grabs those 25 harps and starts making them fairly talk, you flip -
and when he starts singing with that whispering voice, all you
can do is stay in your chair and hold on.
Fifth, comes Otis Spann who is a perfect little gentleman,
but don't let that fool you. That cat can play more piano with
his eyes shut than the averageperson with both eyes open.
Sixth is Matt Guitar Murphy who today is the 'mostest' guitar
player I have heard, and baby! I have been listening for '100
years' (smiles).
Seventh - Billy Stepney who needs no introduction. That kid
can really swing his drums. I like him so much, I call him my
son.
Eighth, is the remarkable Muddy Waters. Here's an artist
from his heart, a true trouper. What a voice! ! When he does
'Hoochie Koochie' you might as well relax for awhile because he
just sews the show up.
Ninth, there's Memphis Slim, who's the Blues evangelist here
in Europe. He's opened up so many places for us to sing in with
his missionary work in the blues that his value is enormous. It
was a wonderful pleasure to be associated with him.
Well, all the boys called me their Queen and I addressed
them as my Knights - and they really treated me like a Queen.
Horst Lippmann, our employer was a wonderful fellow. Boy!
did he take care of us! The best hotels, best jets, best trains,
someone to look after our luggage, dressing rooms, looking after
pur money needs and so much more. He made us really feel at
home in Europe.
There was Joe Berendt who was associated with Horst who was
so sweet to me, took me to a swell restaurant in the Black Forest
in Germany. It was Joe who suggested me for the tour and I still
thank him.
There was Fritz Rau, Horst's partner, who became one of my
good friends.
Then, there was poor little Lennie Kunstadt who worked so
hard for me to make my stay happy. I'm mighty temperamental
at times but Lennie calmed me down, and led me straight.
I met so many wonderful people that it would take many more
pages just to tell you about them. A _few were Gunter & Lore
Boas, Johnny and Liza Simmens.Jlugues Panassie and Madame
Gautier, Yannick Bruynoghe and Mrs., Paul & Valerie Oliver..
Robert Noss, Hartmut Joepchen, Derek Stewart-Baxter, Chris
Barber, Derek Coller, George Adins, Stephanie Wiesand (sweet
girl who took the photo), Mae Mercer, Mr. & Mrs. Jack Dupree,
Mike Scheller, Curtis Jones, Vivian Snow, Karl Knudsen, Max
Jones, Valerie Wilmer, Pam Bavin, Cyril Davies, Doug Dobell,
Bill Tatum, Herb Koleczek and so many others. If I left some of
you out, please forgive me. There will be other writeups of this
wonderful festival.
When the boys and I parted on our return jet flight to New
York I cried like a child and some of them had tears in their eyes
too. It was really wonderful that so many stars could work so
well together and understand each other so well.
Un to Kioht, MEMPHIS SLIM, MUDDY WATERS, BIG JOE WILLIAMS, SOtW BOY WILLIAMSON, LONNIt JOHNSON and VICTORIA
Lett to io sp[ ^ ^ B ^ ba[)en GERnANy ^ 1(w f . rst |(B of thej|r B , ues t(Jur _ photo by stephan , e w ,esanH
THE GOLDEN AGE OF FOLK RECORDING
Ernest Thompson
BY LEN KUNSTADT AND BOB COLTON
Ernest Thompson was a direct antecedent of the present
folk movement. He would have fitted in perfectly today
with his high quivering tvangy voice and his self-accomp-
anying guitar, harmonica and ka70o. His performances were
delightfully spiced with a stronb' flavor 6f regtiw arid
minstrelsy. His presentations were models of a golden age
which so many of us are trying to recreate at this time,
we would like to learn more about him. Can anyone help?
1
THE explosion, which years
ago robbed Ernest Thomp-
son of his eyesight, gave to the
South one of its greatest min-
strels. The visual power that
was lost to him seems to have
passed into the beauty and
understanding of his singing.
Ernest Thompson is claimed by
all the South, although his na-
tive state is North Carolina.
Thompson is master of the
guitar and the harmonica, and,
like other famous Southern min-
strels, has the ability to play his
own accompaniments.
Ers'fst Thompson
- the actual recordings hove been examined and notated unless otherwise indicated ■
- recording dates are approximate - Recording dates obtained from Columbia files
8172V unissued
91725-2 CO IB9-D
•1724-2 CO 148-D
81727-2 CO 150-0
11728 CO 11,7-D
81729 CO 1I|7-D
k-25-2k WAR TOWN QUICK STEP
k-25-2U MISSISSIPPI SAWYER (NO CC) Harmonica and Guitar
ll-25-21l DON'T PUT * TAX ON THE BEAUTIFUL GIRLS(Jack Yellen and Milton Ager) -solo- Harmonica and Guitar
ll-25-2li ARE YOU FROM DIXIE? (George L. Cobb) Harmonica and Guitar -vocal chorus accoap
ll-25-21i LITTLE BROWN JUG »vocal chorus with guitar and Harmonica Accomp.
U-25-2U HOW ARE YOU COIN > TO WET YOUR WHISTLE? •vocally I th Guitar and Harmonica Accomp
*Aeeo»R_£r edits obtained from Columbia 'Folk" catalog (Aug 1928)
CO 150-D U-25-2U RED WING(Kerry Hills) Harmonica and Guitar - vocal chorus
lt-29-5&t SNOW DEAR (Percy Wenrlch) Hjrmonica nd Guitar - vocal Chorus
L-25-211 SPARROW BIRD WALTZ (NO CC) Harmonica and Guitar
U-25-2k KISS WALTZ (NO CC) Harmonica and Guitar
l|S^5-2ll YtaD NOT TO TEMPTATION (NO CC) Vocal solo - Guitar and Hsrmonica Accomp.
lt-25-21l LIFE'S RAILWAY TO HEAVEN (NO CC) Vocal solo - Guitar and Harmonica Accomp.
II-25-2L YELLOW ROSE IN TEXAS
l|-25-2lt SXDIER'S JOY
81758 thru 817lili Louis Graveure (38 i 39)j Harry C. Browne (W 4 Ul),.
817U2-1 CO 150-D k-26-2U THE WRECK OF THE SOUTHERN OLD '97 (NO CC) Hsrmonica t Guitar - vocal chorus
il-26-21. LIGHTNING EXPRESS (NO CC) Vocal Solo Guitar and Harmonica accomp.
k-26-2li CHICKEN ROOST BEHIND THE MOON (NO CC) Solo - Hsrmonica and banjo Accomp.
li-26-2k COON CRAP GAME (NO CC) Solo - Harmonica and banjo Accomp.
I|-2t-2k FRANKIE B»KER(N0 CC) SOLO - Harmonica and Guitar Accomp
k-26-2l| JESSE JAMES (NO CC) Square Dance Banjo and Harmonica
k-26-2U CLIMBING UP THE GOLDEN STAIRStNO CC) Banjo and Harmonica
81750-2
81751-2
81752-2
81755-2
8175k-l
81755-2
81756
B1757
817H3-2
817kli-l
817W-1
817U6-1
817k7-2
817V8-1
CO 190-D
CO 169-D
co 1A9-0
CO 158-D
CO 158-D
unissued
unissued
CO Ik5-D
CO 206-D
CO 206-D
CO 163-D
CO H5-D
CO 189-0
81961-1 CO 15001-D 9-9-2V WEEPING WILLOW TREE (NO CC) Vocal Guitar a Harmonica Accoap.
81985-2 CO «6-D 9-9-2*
8198V-5 CO 15007-D 9-9-21|
81985-2 CO 15007-0 9-9-2k
8198a unissued 9-9-21)
81987-2 CO 15001-D 9-9-2V
81988 thru 8199H Columbia
81992-1 CO 15002-D 9-10-211
81995-1 CO 15002-D 9-10-2U
THE LITTLE ROSEBUD CASKET (NO CC) Solo - Harmonica and Guitar Accomp.
THE OLD TIME RELIGION (NO CC) Vocal - Harmonica a Guitar Accomp.
I'M GOING DOWN TO J0RDAN(N0 CC) Vocal - Harmonica a Guitar Accomp.
JOHN HENRY, STEEL DRIVER
SILVESTER JOHNSON LEE (NO CC) Vocal - Guitar « Hsrmonica Accomp.
Orchestra (88 a 89)j Ted Lewis Band (90)i and Mathilda Coffer (91).
AT A GEORGIA CAHPMEETING (NO CC) ( A CONNIE SIDES ) Guitar, Banjo and Hsrmonica
SILLY BILL (NO CC ) (t CONNIE SIDES ) Guitar, Banjo and Harmonica
CONNIE S1PES vocal - Guitar and Harmonica by ERNEST THOMPSON (The following items were all exhumed for research from
8199k CO 15009-D 9-10-2k UNDERNEATH THE SOUTHERN MOON Columbia 1 1 St and therefore are just statistical
81995 CO 15008-D 9-10-2k YOU'RE AS WELCOME AS FLOWERS IN MAY inrfhee'd verification from anyone owning the actual
81994" CO 15009-D 9-10-2l| IN THE SHADOW OF THE PINE recordingl)
81997 Unissued 9-10-2U WHERE THE RIVER SHANNON FLOWS
81998 unissued 9-10-2* MAMMY'S LITTLE COAL BLACK ROSE (Is Thompson on this side? -Columbia files neglects to
81999 CO 15008-D 9-11-211 THEY MADE IT TWICE AS NICE AS PARADISE(And They Call It Dixieland) /indicate it)
WNEST THOMPSON
lkOOOO-l CO 15006-0 9-H-2k WHISTLING RUFUS (NO CC) Vocal Harmonica s Banjo Accomp.
- Note that Ernest had the distinction of ending the 81000 master number series
AND! commencing the IkOOOO series -
IkOOOl-l CO 15006-D 9-ll-2k WHEN YOU'RE ALL IN, DOWN AND OUT (NO CC) vocal, Hsrmonica a Banjo Accomp.
U0052 unissued 9-11-2* JIM THOMPSON'S OLD GRAY MULE
1W055-5 CO I5000-D 9-ll-2k ALEXANDER'S RAGTIME BAND - Guitar, Kazoo and Harmonica
lk005k-2 Co I5000-D 9-ll-2k THE MISSISSIPPI DIPPY DIP - Guitar, Karoo and Hsrmonica
- Note that Ernest opened the rtbulous Columbia 15000 series with Its initial number, 15000.
U0055-5 CO 216-0 9-12-2k IN THE BAGGAGE COACH AHEAO(Gussle L. Owl,) Solo - Harmonica and GUitmr Accomp.
.UL. f, ■ 1 iVh n .a— ■ if / ri" -* f ^ e **< . ^ , ^ .,./., 1 /,/.
,y^/.
behind
the cobwebs
Carl Kendziora
Our Ajax listing was based on Walter C. Allen's preliminary
listing of the Ajax Catalog in JAZZ JOURNAL magazine in his
column "Discomania" (July and August 1956 issues). Walt's data
was compiled with the help of Perry Armagnac, John H. Baker,
Clyde Clark, Will Roy Heartie/ Ken Hulsizer, Len Kunstadt, Alex
Robertson, Arnold stilwell and Leslie Thornton. We have received
aid from others and hope we've mentioned them when giving their
data. In last issue we mentioned data on two Compo promotional
records for Sherwin-Williams Paint Company. This data was
furnished by Alex Robertson, of Montreal, from the discs in his
collection. We had thought that last time was the wtap-up for
now on the Ajax data. But we still have a few more new facts to
list to make the Catalog as up to the minute as possible.
Here are the additions to add to our Ajax listing: Aj 11021 has
been acquired by Walt Allen; here is the data - A. Don't Know
And Don't Care Blues (Brooks) (31535) - Ethel Finnie, with Porter
Grainger's Novel Three /B. Hula Blues (Grainger-Ricketts) (31538)
- Same. Composer credits for Aj 17033 from Alex Robertson -A.
(Dvorak)/B. (Franz Drdla). Bob Mantlet has Perfect 113 andthe
numbers 17041A and 11041B appear in.the wax. Therefore we
can fill in details for Aj 11041 as follows: A. When The Saints
Come Marching In (-) (31582 )- The Old Time Jubilee Singers,
Mixed Quartet/B. That Old Time Religion (-) (31581) - Same.
Further data on Aj 11056 is furnished by Alex Robertson: A. (1530)
(Spitalny-Goidon-Zamecnik)/B. (1532) (Miller). Aj 11082 has
been found by Bob Mantlet and here is full data: A. Conjure Man
Blues (Urquhart) (31620) - Helen Gross and The Choo Choo
Jazzers/B. He Used To Be Mine (But You Can Have Him Now)
(Holmes) (31622) - Hazel Meyers. No accompaniment credit is
listed -the Choo Choo Jazzers are NOT mentioned! Alex Robert-
son reports that 11102 A and B appear in the wax of Apex 8269.
So we can assume that Aj 11102 is the same: A. Ask Her When
Shadows Fall (Grossman-White-Lange) (5662-1) - Nathan Glantz
And His Orchestra /B. The Pal That I Loved Stole The Gal That I
Loved (Pease-Nelson) (5661-1) - Same. Alex also adds composer
credit for Aj 11105 - A (from Apex 8340B) as (Friml). Andthe
artist credit on 8340B is Ben Selvin's Orchestra and not California
Ramblers! Numbers in the wax of Apex 8340B are: 8211A, 8340B.
19002A and 11105A. Alex says that 8211A is another issue of this
master (5106-2) and here the credit reads Selvin's Orchestra.
Alex adds full data for Aj 11108 from Star Gennett 8295 (with
11108A and B in wax) as: A. How Do You Do (Fleming- Harrison-
De Voll) (5803-1). Lew Gold's Dance Orchestra/B. Oh! Mabel
(Kahn-Fiorito) (5164-2) - California Ramblers (Vocal Chorus,
Arthur Fields). Alex also reports on APEX 8323A with 8308A and
11112A in wax: O Katharina (Gilbert-Fall) (5821-2) - Tne Cali-
fornia Ramblers. For Aj 11113B, Alex gives composer credits
from Starr Gennett 10018: (DeSylva-Green-Henderson). Also in
wax- 8309A and 21045B. For Aj 11114B, Alex gives from Starr
Gennett 8322B (in wax: 8311B and 11114B): (Berlin). Alex also
gives us the following further data for Aj 11123 from Apex 8316
with Ajax numbers in wax: A. Honest And Truly (Rose) (5842-1) -
Rex Battle And His Dance Orchestra/B. Why Couldn't It Be Poor
Little Me? (Kahn-Jones) (5811-2)- Fletcher Henderson And His
Orchestra.
Most important news of all is that there is at least one higher
Ajax issue than we knew about when we ended our Ajax catalog
at 11133! Walt Allen saw Ajax 11134 In an auction list, bid on
it, but didn't win it. Subsequent inquiry Informs us that John
Baker was the winner and we have asked John for full details. We
hope to receive this information from John soon and will pass it
oninafuturecolumn. Meanwhile, partial data follows: Aj 11134-
. fufax j4~/>*4 *****••*»?*&■ fa/
Give Me Just A Little Bit Of Love-Josie Miles and The Choo Choo
Jazzers/Crepe Hanger Blues - Susie Smith and The Choo Choo
Jazzers. Is this the highest Ajax?
Label of the Month: Here is a not uncommon member of the
Grey Gull family. It is an attractive label in four colors. Black,
white, gold and red. The upper half is black with label name in
gold-striped white letters, a black and white portrait of Van Dyke
on a red background, and the phrase in gold: Each Record A Mas-
terpiece. The lower half is a white panel with.titling in black.
A distinctive feature of this label is Its splitting of the 4 -digit
master number into two parts, the last two digits being printed
immediately below the first two digits. (The only other label
doing this, to our knowledge, is Sunrise - another late Grey Gull
family member.)
Our illustration is the"B"sideot Van Dyke 11804 and complete
data for it is as follows: A. Turn On The Heat (De Sylva, Brown,
Henderson) (3162 A) as by Collegiate Jazzers, vocal chorus/B. In
Harlem's Araby (Grainger) (3144 B) as by Dixie Devils. 3162 A
also appears on Radiex 1804 as: Sung By Vel Veteran. University
Syncopators. 3144 A (an alternate take of the above) appears on
Radiex 1804 and also on Radiex 931, both as: Memphis Jazzers.
The Radiex 931 coupling differs from that of Radiex 1804 and Van
Dyke 11804'. The 3000 and 4000 series masters appearing on Van
Dyke are Grey Gull masters of the electrically recorded series cut
at its own New York studios.
Most Van Dyke records duplicate couplings that appear on. Grey
Gull and Radiex; and so their catalognumbers could be, and were,
derived from the latter, by simply attaching an arbitrary numerical
prefix. Up to the end of 1929, the Van Dyke catalog number
placed a " 1" prefix before the Grey Gull catalog number. A little
later, the prefix was changed to an "8". The reason for the change
is obscure. (It was not at the dividing line between Grey Gull
1100's and 1800's, as will be seen from the following listings. )
Thus, taking the known range of these Van Dyke series, we
have- Dance - Van Dyke 11126 to 11811 equal Grey Gull 1126 to
1811. Van Dyke 81818 to 81894 equal Grey Gull 1818 to 1894.
Vocal - Van Dyke 12485 to 12522 equal Grey Gull 2485 to 2522.
Van Dyke82524 to 82538 equal Grey Gull 2524 to 2538. Standard -
Van Dyke 14004 to 14290 equal Grey Gull 4004 to 4290. Van
Dyke 84160 equals Grey Gull 4160 (only example noted). "Race"
- Van Dyke 11023 to 11039 equal Grey Gull 7023 to 1039. (Van
Dyke 81000's, if any, unknown to us. ) Besides this more-or-less
consistent numbering practice. Van Dyke records occasionally
are numbered in a few other catalog number series, as follows:
Van Dyke 900's - May correspond to late Radiex 900's. Van Dyke
5100's - No known equivalent. Van Dyke 1000's - Van Dyke
1023 equals Grey Gull 1023. (Only example noted; a case of a
forgotten prefix?) Van Dyke 1800 's - No known equivalent.
The only concrete facts we have pertaining to price and manu-
facturer of Van Dyke are an advertisement in Talking Machine
World and a throwaway. The ad, in TMW for August 1929, con-
tains the following text: "A de-luxe 35-cent seller. Here s a
superlatively good recordhujjt especially for high-grade merchants
who desire to sell a standard record at a popular price with a good
profit margin. Write tor samples and prices. Van Dyke Record
/ (continued on page 20)
•opt
DOLLY KAY
DOLLY KAY without reservation made a permanent
niche in the glorified period of the roaring 20s. Her
hefty voice was well-known to audiences and phono-
graph record listeners. She, like Sophie Tucker, Blossom
Seeley and others, were not the anaemic type nor like the
mike babies of today. They had to sing, often without the
use of amplification, to large audiences. Their voices had
to be strong and full. Dolly had a voice that adapted It-
self well to the vaudevlllian and jazz-bluey tunes of the
second decade. Columbia had her on recordings for seven
years which was a testimonial to her popularity.
J
Any Way The
Wind Blows
(James F. Hanky and Henry Creamer)
Coined ten no -Ore
i. Accomp.
DOLLY
KAY
246-D
(140132)
By Len Kunstadt
and Bob Colton
Waster «Take Cat. RecorrtinoDate Title (NOTEi TAKE numbers in A series nay NOT be TAKES! - RESEARCHIt)
Comedienne Orchestra Aceompamrnem
8005li-2 Co A5502 OCT. 20,1921 CRV BABY BLUES(Meyer)
80055-1 A"»2 OCT. 20,1921 NO ONE'S FOOL(Rose)
86056 I Unissued' OCT. 20,1921 THE SCHOOLHOUSE BLUES
WABASH BLUES
COT TO HAVE MY DADDY BLUES
BOW Co A555U DEC. 27,1921
SOUS A555k DEC. 27,1921
Above fro* Columbia files
Comediame Orchestra Accompaniment
B057I4-S CO AJeldi JUNE 7, 1922 IT'S THE LAST TIME YOU'LL EVER DO HE WRONGlBllllams)
B0J75-2 A56i|h JUNE 7, 1922 BUZZ, HIRANDY(Frenklin)
80V50-T CO A5669 JUNE 29,1922 IF I CAN'T HAVE YOU I DON'T KANT NOBODY AT ALL(Brown and Morgan)
80li5t-2T A566l| JUNE 29,1922 LONESOME LONGIN' BLUES(Roberts)
takes for above coupling not easy to distinguish in the label
Comedienne
•0626-2? CO AJ758 OCT. 27,1922 HOT LIPSfBusse.Lenge and Davis)
80627-2 A575* OCT. 27,1922 BLUE(Handman)
Comedienne (Files list Frank vestphal's Orchestra as Dolly's eccomp.)
S0759-2 Co A5808 JAN. 9, 1925 YOU'RE COT TO SEE NXWEV'RY NIGHT(or You Can't See Hams At All)(Rose and Conrad)
80760-5 A5808 JAN. 9, 1925 I LOVED YOU ONCE BUT YOU STAYED AMAY TOO LONG(West and Porray)
Comedienne , ...»
80815-5 Co AJ828 JAN 50, 1925 AGGRAVATING PAPA(Don't You Try To Tw Time He) (Turk and Robinson)
80811.-5 A5828 JAN 50, 1925 SEVEN OR ELEVEN(ny Dixie Pair Of Dice) (Donaldson)
comedienne with Orchestra accompaniment
80892-1 Co A5882 HAR. 9, 1925 WET Y0' THUHB(Akst)
80895-6 A5882 MA*. 9, 1925 DON'T THINK YOU'LL B
HlsSED(Harrlson, Lyons and Rose)
Phil Philips, Piano
81158 Co A5955 JULY 16,1925 KY SWEETIE WENT AWAY
81159 A5955 JULY 14,1925 OH1 SISTER AIN'T THAT HOTt
above from Columbia files
8
Comedienne - Phil Phillips at the piano
81175-5 Co A5980 AUG. 11,1925 THE GOLD-DIGGER (James F. Hanley)
81l7k-5 A5980 AUG. 11,1925 SWEET HENRY(Harry Akst)
Comedienne with "THE GEORGIANS" direction of Frank Ouarente
81*67 Unissued JAN. 9, I92V AIN'T YOU ASNWED
811i68il Co 70-D JAN. 9, I921( HJLA L0u(Hilt«n Charles i Wayne icing)
81l|7li-2 Co 70-D JAN.ll, 192U MAYBE SHE'LL WRITE ME MAYBE SHE'LL PHONE HEfTurk, Snyder and Ahlert)
81li75 Unissued JAN.ll, 192U TAKE A LOOK AT THIS From "George white's scandals of 1925"
Bl6%-1 Coll7-t> tt».27. 192k BtGBOY(Mllton AOer)
8W;-a 117-D MAR.27, I921( SOMEDAY SWEETHEART(John C. Spikes and Benjamin Spikes)
Comedienne - Orch. Accomp.
81796-5 Col51-0 MAY 28, 192l| I CAN'T GET THE ONE I WANT(Lou Handman)
81797-k 151-0 MAY 28, 192l| HARD HEARTED HANNAH (Yellen, Bioelov and Bates)
1W132-1 Co2i|6-0 NOV. 11, 192U ANY WAY THE WIND BLOWS(James F. Hanley and Henry creamer)
1WI55-5 2U6-D N0V.11, 192l| I WANT TO SEE W TENNESSEE(M1 lton A9er and Jack Yellen)
Vocal Phil Phillips at the Piano (hj - HARMONY)
1U2732-1 Me268-H OCT. 5, 1926 HOW COULD RED RIDING HOOD»(Randolph)
1U2755-3 268-H OCT. 5, 1926 IT TAKES A GOOD WOMAN(To Keep A Gocd Man At Home)
lli?979-2 Ha29lt-H 0CT.27, 1926 PRETTY LITTLE THING(Tobias, Rose and Dubin)
H2B80-2 2911-H 0CT.27, 1926 RAGS(Kahal, Fain, Silver and Richman)
(ttccvinpan I nwntT )
WHU0B5 HalUll-H MAY It, 1927 I HAVEN'T TOLD HER - SHE HASN'T TXD ME(But We Know It Just The Some){
Wll|k086 b.ll-H MAY l|, 1927 FIFTY MILLION FRENCHMEN CAN'T BE WR0NG( )
above from Columbia files
Vocal Phil Phillips At The Piano Also on Diva 2U1+9-G 'Takes' unknown
lb.Uli20-J!Hafcli9-H JULY 1, 1927 MAGNOL!A(DeSylva, Brown, Henderson)
ll|lll|2-l I|lt9-H JULY 1, 1927 1 AIN'T THAT KIND OF BABY(Fain, Kahel and Brltt)
Vocal - Accomp by The University Six Also on Diva 2581-G 'Takes' unknown
H5569-2 He581-H JAN.2U, 1928 THE GRASS GROWS GREENER! 'Way Down Hams) (Dougherty and Yellen)
H5570-5 581-H JAN.2U, 1928 LET A SMILE BE YOUR UMBRELLA ON A RAINY DAY(Fatn, Kahel and wheeler)
DATES IN THE EARLY PERIOD ARE APPROXIMATE . SOME MAY BE EXACT. ALL DISCS. UNLESS OTHERWISE INDICATED, HAVE BEEN
PERSONALL Y EXAMINED AND CROSS-CHECKED AGAINST THE COLUMBIA FILES .
HE WOULD SUSPECT THAT ENGLISH COUNTERPARTS OF MISS KAY'S RECORDINGS WOULD BE FOUND ON ENGLISH COLUMBIA.
reminiscing in
by Frank Kelly
"WHERE ARE THEY ?? "
TED FLORITA recently retired fromtheband biz to his Scottsdale,
Ariz, home where he'll write an occasional song like hedid years
ago. PAUL WHITEMAN is still around (home base is New Hope,
Pa. ) and currently a rabid sports race car buff (takes a 130 mph
spin when his family isn't looking) takes in all the Summer &
Winter sports car races - is dir. of the Daytona Beach, Fla. sports
car track. ALLEN EAGER, who was a rather prominent hot tenor
during the bop era- -and also blew with bands of Bobby Shewood,
Sonny Dunham, T. Dorsey, Johnny Bothwell, Shorty Sherock,
Buddy Rich, etc. nowadays is a stock car racer in Fla. & Nassau.
Makes his home in Nassau, B.W.I, with his rich N. Y. wife.
HORACE HEIDT, nowadays is retired from band leading, and isa
Van Nuys, Cal. realtor-recen,tly wed Mrs. Dorothy Brown, AN.
H'wood, Cal. interior decorator. Sharp pops singer HELEN
MERRILL (ex-wife of hot clary Aaron Sachs) away from the U.S.
for almost four years—signed with an outfit called "Personality
Productions" and will split her engagements between Europe and
the USA. JIMMY TYSON, the bigband mgr. who guided TOMMY
DORSEY in the 40s, is back on top and swinging again--but this
time promoting art instead of jazz (not that jazz can't be art).
Jimmy's gimmick is taking an art gallery on the road with one
nite stands and all the hooppla he employed on band tours.
WARD WILSON, the old NYC radio engineer years before TV
was commercial --who graduated to mimmicking the radio stars
he monitored to radio quiz panels- -sports casting, acting, etc.,
nowadays a TV jack of all trades in Palm Beach, Fla. TOMMY
BENFORD, drummer of International renown who has spent the
past ten years playing in London, Paris, & Rome, has returned
home and now setting solid beats for EDMUND HALL's Hot combo
at EDDIE CONDON'S NYC club. Remember DOLLY DAWN with
her DAWN PATROL over the MBS network~-on records with her
late adopted father & later husband- -GEORGE HALL's band? To-
day DOLCY's back in NYC and is featured singer at the Greenwich
Village "Bon Soir" club. Ex child film star FREDDIE BARTHOLO-
MEW nowadays is an account exec with BENTON & BOWLES- -
adv. agency. Whatever happened to EDDIE WEBER, who used to
be in charge of radio's moneymaker "Can You TOP THIS?"
EDDIE who pounded piano for EVA TANGUAY, NORA BA YES,
FANNY BRICE & others whose names are monuments to the fabu-
lous past, has been mus. dir. show biz' famed SAINTS & SINNERS
Club for some years. But "civilians'" can dig WEBER tickling the
ivories each Monday at NYC's Sheraton Motor Inn Pub. SONNY
TUFTS, who played piano & drums during his student days at
Yale University when not booking college' bands--has finally
found himself, and back in Hollywood doing film & TV acting
stints ' (COMTIHJED ON PAGE 14)
min HomnrnfrltBHlparmarld nfRpH
dr-itft / Ifrtr emf /fit/ (»*«##■>«
Y ■ >
HOWARD LANIN
Some of the mysteries. surrounding Victor 19797 by HOWARD
LANIN'S BEN FRANKLIN HOTEL ORCHESTRA appear to be coming
to light. Older discographies listed this item as "featuring Red
Nichols". Although the horn work sounded very much like Nichols,
I always doubted this because Red claimed he never recorded with
HOWARD LANIN. After all, there was a Howard Lanin who had
an orchestra at the Ben Franklin Hotel in. Philadelphia back in the
twenties. Brian Rust included this record in his recent "Jazz
Records" complete with recording date and instrumentation, but
with personnel unknown.
JoeRushton, extraordinary bass saxophonist mainstay and foun-
dation of the Nichols' Pennies since 1947, and student of the
Rollini-Bix-Nichols era reported that Vi 19797 definitely featured
Red Nichols. This called for further investigation. Brad McCuen
ot RCA was kind enough $6 check the Victor files and unveiled two
important points. First, the actual director of this session was
SAM Lanin; second, the recording was made in a Camden church.
Nichols made hundreds of recordings for Sam Lanin and many
still require documentation. Red also remembers going to Cam-
den, N.J. for one or two recording sessions. He could not recall
further details except that he thought one was made in a church.
Because of these bits of information we now list Red Nichols on
the following:
HOWARD LANIN'S BEN FRANKLIN HOTEL ORCHESTRA -
Sam Lanin, Director
September 29, 1925 - recorded in Camden, N.J. church
Instrumentation: 2 cornets, tb, 3 saxes, \))0, tuba, p.
BVE-33433-2 Vi 19797-A Melancholy Lou- - also HMV B5047,
HMV 6 (Spanish)
BVE-33434-5 Vi 19797-B Don't Wake Me Up, Let Me Dream"
• Takes 1 and 4 were destroyed and take 3 held for 30 days
'• Takes 1,2, and 3 were destroyed and take 4 held for 30 days.
Before this session the Victor files show three more listings for
HOWARD LANIN. There are significant differences to be noted,
however. Details presented below show that JOE Lanin was the
director; the instrumentation is the same except the drums are
omitted. They were recorded on the "5th Floor" which we assume
was in New York City.
HOWARD LANIN'S BENJAMIN FRANKLIN HOTEL ORCHESTRA -
Joe Lanin, Director
March 28, 1925 - New York City
BVE-32189 That's My Girl
BVE-32190 Isn't She The Sweetest Thing
For both tunes, takes 1 and 3 were destroyed. Take 2 was held
conditionally but there is no indication these were ever issued.
BVE-32512-4 Vi 19652-A When I Think of You -
takes 1, 2, 3 destroyed
BVE-32513-4 Vi 19652-A Lady of the Nile -
takes 1, 2, and 5 destroyed and take 3 held conditionally.
HOWARD LANIN'S BEN FRANKLIN DANCE ORCHESTRA -
Joe Lanin, Director
June 26, 1925 - New York City
BVE-32743-2 Vi 19711-B On a Night Like This -
also HMVB5070*
BVE-32744-4 Vi 19711-A When Eyes of Blue Are Fooling You**
• Takes 1 and 4 destroyed; take 3 held for 30 days
*• Takes 1, 2, and 5" destroyed; take 3 held for 30 days
On Victor 19711 the horn man demonstrated'earmarks ofRed^
Nichols, but until additional information is uncovered we shall
list this as a doubtful Nichols item. Readers are urged to send in
additional comments on these sessions.
MORE RESEARCH, WOODY I
A number of yews ago Hike Zacc and LK had the good fortune
to show the above photo to drummer , Chauncey Horehouse and we
were rewarded with the following personnel.
Top row from 1 to r* Al Davidson t violini Tex t . trumpet % Lee
Hardesty,saxj Russell Oeppe, banjos and ? .
Front row from 1 to rt Johnny 0'Domell,clar inet» ? T ranchitclli
s»M ? j t .i Chauncey Horehouse, drums end
Joe Lanin, piano.
Seated on floor i Willie Lanin f piano . >
Seated in chain Howard Lanin, leader.
Photo was taken in 1925. Chauncey recalled being with the band
at this time and recording with same. Perhaps this data will
dovetail with your information, Woody?t
RIM CHIPS
4+o^V
Soloistil Please!
SWINGING
WITH ZACC
U MIKE ZACCAGNINO
"You and your lousy 'let them
hear the records' policy."
10
Brother Collectors prepare yourselves for we are about to take
another dark and daring journey into the mysterious land of Solo-
ville. We must all try and find our thinking caps so we can con-
centrate on who is playing the solos on all the following recordings
which come from my humble collection. So let us. not waste one
precious minute and let's hope we have as successful a trip as
the last one.
"Who's Yehoodi" Jerry Colonna ace. by Fud and his Fuddy
Bears (Columbia 35512), there is a tenor solo which could be Fud
Livingston himself. Any ideas anyone?? Who is the clary and
piano ace. Ella Fitzgerald on "Someone Like You" (Decca 25462)
How about the tenor and clarinet on "Swing Fever" by Mai Hallet
Orch. (Vocalion 3256)?? The reverse is "Mary Lou" which has
clary, muted tpt. tenor and piano. For all the Jan Savitt fans I
have the following information, the trumpet on "El Rancho Grande"
(Decca 2771) is Johnny Austin and the drummer on "Shabby Old
Cabby (Decca 2600) is Buddy Schutz who later joined Jimmy
Dorsey. "Rose of the Rio Grande" (Decca 3945) has Al Leopold on
trombone, Johnny Austin on trumpet and Fran Ludwig on tenor
The piano is I think "Tiger" Jack Pleis. This was Fran Ludwig's
first record date. Anyone know the tenorman on "Bermuda Buggy
ride" by Al Donahue (Decca 989) while the reverse is "I Want the
Whole World to Love You" which has solos by muted trumpet and
either a flute or clarinet, I can't tell. Also by Donahue is "Moon
Love/To You" (Vocalion 4888) with Paula Kelly singing on both
sides. There is a clarinet solo on both sides which sounds like the
same guy doing both of them. Any idea who he is?? Drummer
Buddy Rich had his own band for a while and made some real
swinging discs like "DatelessBrown" (Mercury 3001)'which features
tpt-tenor-trb-and piano. "Quiet Riot" (Mercury 3017) features a
hot tenor chorus and also drums by the King himself. Any help as
to the soloists on any of these?? There is a muted tpt. and piano
on "Red Sails in the Sunset" and a muted tpt. on "Georgia Rocking
Chair" by Hank Biagini on Perfect 5-11-12). Anyone know who
they are??" Blue Rain/Moon Ray by the Terry Snyder Trio (Varsi-
ty 8111) has Vibes-Bass and Guitar. The vibes I know are by Terry
Snyder (who recently passed away) but does anyone know who the
bass and guitar are?? Who is the alto on "With A Twist of the
Wrist" by Al Donahue (Okeh 6012) while the reverse is "Keep an
Eye on Your Heart" which features alto and trumpet. Then there
is "The Blue Jump" (Okeh 5828) which has tpt. -tenor and piano
backed by "Burning the Midnight Oil" where the trumpet and tenor
are heard. Any idea on any of these Al Donahue records??
Nextwehave "Alexander's Back in Town" a Jerry Sears Session
which has a Peg LaCentra vocal. The soloists are tpt. (Pee Wee
Erwin) and clary-tenor-trombone and a bit of guitar. Any help
on this Bluebird (10021)?? The reverse is "Noodlin' on which
Peg also sings and has a tenor, piano and Pee Wee's horn. How
about the following Chick Bullocks' "East of the Sun" (Me 350902)
which has trb. and muted trumpet?? The reverse is "I'll Never
Say Never Again Again" which features tpt. guitar, violin and
muted trumpet. How about "I'll see You in my Dreams" (Vo 4583)
which ,has piano and trb. The reverse is "I Used to Love You"
which has piano and muted tpt. Next is "You Don't Know How
Much You Can Suffer" (Vo 4682) which features a trb. How about
"My Gal Sal" (Vo 4244) which has growltpt. and trb. Then we
have "Melancholy Baby" (Vo 4402) which has muted tpt. , bass
clary??, violin. -The back is "Somebody Loves Me" which has
muted trumpet and trombone. I have many more of Chick Bullock
which i Will list in a future column. His records are sparsely
listed anywhere, yet they all contain some of the great musicians
of the late 20 's and thirties, and some great solos. Pee Wee Erwin
told me that he made many of the dates and I know that Bunny,
ArtieShaw, Sterling Bose, Joe Venuti, Tony Parenti, Chauncey
Morehouse, Stan King and the Dorseys can be found on some of
his recordings. Incidentally, speaking of Bullock, does anyone
'mow where he is today?? Is he still living, retired or what? The
same goes for Harold "Scrappy" Lambert who also made many
records in his day, whatever became of him?? *-\ v -
I sent George Thow a tape containing the two takes of "Sweet
Georgia Brown" date which has Bing Crosby with orch. ace. plus
some BunnyBerigan things, Charlie Teagarden with Jimmy Dorsey
and some Dorsey Bros, which George was a part of. He replied in
a recent letter and had this to say: "Needless to say I was delighted
with the entire tape. I had never heard the "B" master of the
Crosby date and it was quite a kick. Some of the Dorsey Bros.
stuff I had completely forgotten. Enjoyed all the things by Bunny N^
and was thrilled with the Charlie T. stuff. As you say, our asso- »
ciation goes back quite a long time and he is and always has been - _'
tome just about the head man, and has never received the recog- V J *
nition he deserves. Now to clarify a few things: (1) The saxophone ,0 *
on the "Sweet Georgia Brown" was not alto, but tenor and was r-
played by Saxie Mansfield. (2) The trombone on the date was M}^
definitely Jack Jenny, Sonny Lee joined the Jones band late in * M
1933 (3) the only recording I had don e prior to j oining Jones was ^^
with a bancTat Harvard (The Gold Coast Orchestra) around 1926 or i
i
1927.^ We' made four sides for the old Perfect Co. The equipment
was "faulty and the sides were never released except for the indi-
vidual pressings made for the guys in the band. Don't even recall
the names of the tunes. (4) Regarding the Dorsey Bros., dates, I
did all the dates from June 1934 until they split up in June or July
of 1935. However, I missed about two dates due to an infected
lip. Charlie Spivak has been added to the band to bolster the
brass for the floor show at the Palais Royale and it is my recollec-
tion that he subbed for me on some of these sides. I'm quite sure
it is Charlie on the Dec. 21st and Dec. 28th dates, and I believe
we used two trumpets on the Jan. 4th date. I doubt that Jerry
Neary was on any of these dates. (HD lists George Thow or Jerry
Neary tpts, ) As I told you my daughter absconded with what few
oldies I had in that category so I wouldn't mind having dupes of
some of them like "Milenberg Joys" "Honeysukle Rose" "I've Got
Your Number" by the Dorsey Bros. I did a session for Brunswick
here in Hollywood in 1937 under the title "Bill Harty Presents
George Van Eps" and among the tunes were "Squatting at the
Grotto" "Varsity Drag" and two others. Have never been able to
locate these." (Have any of you out there any of these and if so,
I'll gladly accept a tape of them to send on to George in appreci-
ation for sending me this wonderful information. Naturally, I
will pay for the tape and postage etc.
That's about it for now and once again let me say thanks to
all of you who have deluged me with letters and am happy to see
my column meet with your approval.
ED. NOTE: Regarding George Thowand the"Gold Coast Orchestra"
- In an ancient issue of RR, back in October 1955 we had the
following:on page 21:
GOLD COAST ORCHESTRA .- Issued or Unissued ! !
A recording session was made by a Boston band known as the
Gold Coast Orchestra for the Pathe-Perfect organization about
1925-1926, so reports Dr. Roy Lamson of Williams College, Vt.
Lamson, who was a participating musician, believed that the
recording titles were never issued. Personnel for the recordings
were:
George Thow - trumpet (later to be associated with the Dorsey
Bros. ) Roy Lamson. - alto and Clarinet. . (he recalls taking a half
chorus clarinet solo on one of the sides); Johnny Green-Alto (this
is the same 'Green' who today is one of Hollywood's most success-
ful studio band conductors); Charles Henderson - pianist.
Other instrumentation consisted of trombone, two other reeds,
banjo and sousaphone? . . . Lamson could not recall the names of
the recorded tunes however he doesrecall that two sides were waxed.
SEND AU, CUERIES etc. to HIKE ZACCAGNINO
111? TENTH AVENUE NEW YORK CITY NEW YORK.
t
s
Ed Kirkeby' s b y Wood y Backenst °
California Ramblers Perry Armagnac
(EDISON) - Part 5
continued from Issue 55
January 1, 1929 - ERMINE CALLOWAY (vo)
Ed Kirkeby (leader); Angie Rattiner (tp); Ted Raph (tb); Bud Wagner (reeds)
Larry Kosky, ^McGarvey (vi); Chauncey Gray (p); Tom Fellini (g);
Nick Pisani (b) Stan King (dm).
18989-A.B.C remade 1/19/29 Good Little Bad Little You
N680-A&B rej remade 1/19/29 Good Little Bad Little You
January 7, 1929 - 7 BLUE BABIES (same personnel as above)
18990-A,B,C- unissued It's A Precious Little Thing Called Love
N681-A,B,C- rejected It's A Precious Little Thing Called Love
January 11, 1929 - CALIFORNIA RAMBLERS
Ed Kirkeby (leader); Frank Cush, Angie Rattiner (tp); Ted Raph (tb); Carl
Orech, Hyman "Herman" Wolfson, Harold Marcus (reeds); Al Duffy (vi);
Chauncey Gray (p);.Tom Fellini (g); Al Weber (b); Stan King (dm).
19005-A.B.C Ed 52506 Sweethearts on Parade
'NY696-A unissued Sweethearts on Parade
' 16^85 Ed 5S63 Sweethearts on Parade
I'll Never Ask For More-Scanlan (vo)
I'll Never Ask For More-
I'U Never Ask For More "
19006-A.B.C Ed 52506
N;B97-A rejected
16590 Ed 5664'
January 14, 1929 - JACK DALTON (vo) & THE 7 BLUE BABIES
Ed Kirkeby (leader); Angie Rattiner (tp); Miff Mole (tb); Carl Orech (reeds);
Chauncey Gray (p); Tom Fellini (g); Herb Weil (dm).
18954-F, G, H Ed 52508 1 Love To Bumpity Bump (on a Bumpy
Road with You) - actually Jack Kaufman
tN-645 F, G rejected (vo)
19001-A.B.C Ed 52516 Where Did You Get That Name
■$ > '-698-A , rejected
January 18,
Ed Kirkeby (leader); Frank Cush, Phil Napoleon (tp); Miff Mole (tb); Carl
; Orech, Sam Ruby, Harold Marcus (reeds); Al Duffy (vi); Chauncey Gray (p);
Tom Fellini (g); Ward Lay <b).
19019-'A,B,C Ed 52513 Button Up Your Overcoat-Jack Parker(vo)
N^IO-ACOK^B. Ed 11035
16621 Ed 5704
,19020-A,B.C Ed 52513
r Nf711-A.B,C Ed 11035
I Want to Be Bad-Jack Parker (vo)
anuary 19, 1929 - ERMINE CALLOWAY (vo) &-THE 7 BLUE BABIES
Ed Kirkeby (leader); Angie Rattiner (tp); Miff Mole (tb); Carl Orech (reeds);
Al Duffy, Larry Kosky, Dickson (vi); Chauncey Gray (p); Tom Fellini
(g); Stan King (dm).
18986-F,G,H Ed 52519 Is There Anything Wrong In That?
ji-677-F, G, H rejected
165BU Ed 5661 " "
18989-F, G, H Ed 52519 Good Little Bad Little You
f)-680-F, G rejected
January 22, 1929 - BILLY MURRAY (vo) with MERRY MELODY MEN
Remake of January 5, 1929 date with same personnel.
18987.-F, G', H Ed 525L8 A Gay Caballero
H-678-F,G rejected
18988-F, G, H Ed 52518 Ever Since The Movies Learned To Talk
H : 679-F,-<; rejected
February 15, 1929 - JACK DALTON (vo) & THE 7 BLUE BABIES
Ed Kirkeby (leader.); Angie Rattiner (tp); Miff Mole (tb); Carl Orech (reeds);
Chauncey Gray<p_5; Tom Fellini (g); Stan King (dm).
19052-A.B Ed 52528 Heaven Help a Sailor on a Night Like Thi
H-743 B rejected
19053 A, B Ed 52528 Outside
H-744-A,B,C (rej) unissued
- Jack Dalton is actually Jack Kaufman
16655 Ed 5718 Heaven H*lp a Sailor on a Night Like
Thi a
Febr uary 19, 1929
Ed Kirkeby (leader); Angle Rattiner, Fred Van Eps, Jr. (tp); Carl Loeffler (tb)
Carel Orech, Sam Ruby, Arthur RoUnri, Pete Pumiglio (reeds); Al Duffy (vi);
Chauncey Gray (p); Tom Fellini (g); Stan King (dm).
19054-A,B Ed 52535 Guess Who
y ,745-B rejected
We have assumed that "Rollini" marked in the payroll book was Arthur rather
,than Adrian who was probably out of the country at this time.
VTO BE CONTINUED)
HENDERSON*
Walter C. Allen
In his discography of Bessie Smith some years ago, George
Avakian stated that only one alternate take of hers had ever been
issued, that being MUDDY WATER. But within the last four or
five years, FOUR additional second masters of Bessie Smith have
been discovered; SOFT PEDAL BLUES, by Perry Armagnac; YEL-
LOW DOG BLUES and NASHVILLE WOMEN'S BLUES, by Jeff
Tarrer of Atlanta; and CARELESS LOVE BLUES by myself. Inad-
dicion.Russ Connor found an alternate of Maggie Jones" CHEATIN'
ON ME. All of these alternates have accompaniments by Fletcher
Henderson units.
This prompted a search in the Columbia files (courtesy of
Frank Drlggs) to see what the original matrix cards showed. As
it happens, the cards do not specifically state which takes-were
released , but do show whether a given take was 'Rejected' or
'OK' (i.e. approved for release,) In many cases, two different
takes were 'OK' but one was always marked '1st Choice' and the
other '2nd Choice. ' In most, BUT NOT ALL cases, the known
issued takes were the ones marked 'OK', generally the First
Choice. Some '2nd Choice' takes are known, and these seem to
be the rarer pressings of a given issue, indicating that only a few
copies Were pressed from the less desirable take. But in at least
three known cases, a Henderson take marked 'Rejected' was
definitely issued 1
Here are the Henderson accompaniments to Bessie Smith from
the period in which the known or possible alternates occur.
Listed are the matrix number, tune title, takes recorded and
their disposition (R - Rejected; F - First Choice; S - Second
Choice), and those takes KNOWN to have been issued in the last
column. For the present, 1 am listing only those titles with two
takes OK'd_or released. The rarer take, from my experience, is
marked with an asterisk. (•)
140166 Woman's Trouble Blues 1 to 4 R; 5S; 6 F 6
140167 Love Me Daddy Blues 1 to 4 R; 5F; 6 S 5
140241 The St. Louis Blues 1 F; 2 R; 3 S. 1
140250 Cold In Hand Blues 1 S; 2 F. 2
140251 You've Been in A Good
Ole Wagon IF; 2 Si-3 R 1
140586 The Yellow Dog Blues IS; 2F; 3 R 1(*), 2
140601 Soft Pedal Blues 1 R; 2 OK 1(»), 2.
140625 Nashville Women's Blues 1 R; 2 F; 3 S 2, 3(»)
140626 Careless Love Blues 1 F; 2 S. 1, 2(")
140629 J.C. Holmes Blues 1 S; 2 F. 2
140630 I Ain't Goin' Play 2 Fiddle 1 F; 2 S 1
141293 Red Mountain Blues 1 R; 2 F; 3 S. 2
141819 Jazzbo Brown from
Memphis Town 1 S; 2 F; 3 R 2
141820 The Gin House Blues 1 R; 2 S; 3 F. 3
142146 Money Blues 1 S; 2 R; 3 F. 3
142147 Baby Doll 1 S; 2 F. 2
142148 Hard Drivin' Papa 1 S; 2 R; 3 F. 3
142874 Hard Time Blues 1 R; 2 F; 3 S. 2
142875 Honey Man Blues 1 R; 2 S; 3 F 3
142876 One and Two Blues 1 R; 2 F; 3 S. 2
142878 Young Woman's Blues 1 R; 2 S; 3 F. 3
143567 After You've Gone 1 R; 2 F; 3 S. 2
143568 Alexander's Ragtime Bd. 1 F; 2 R; 3 R; 4 S. 1
143569 Muddy Water 1 R; 2 F; 3 S. 2, 1(?*)
(Paul Oliver says #1 is the issued alternate; can anyone confirm?
143570 There'd Be a Hot Time 1 S; 2 F; 3 R. 2
143575 Trombone Cholly 1 R; 2 S; 3 F. 3
143576 Send Me to the Lectric
Chair 1 S; 2 F; 3 R. 2
143583 Them's Graveyard Words 1 R; 2 F; 3 S. 2
143584 Hot Springs Blues 1 S; 2 F; 3 R 2
144918 Dyin' By The Hour 1 F; 2 S; 3 R. 1
144919 Foolish Man Blues 1 S; 2 R; 3 F, 3
I hope that you will be prompted to look over your < llection
for any of these items (keeping in mind that the 'takes' on dub
masters, such as on some of the Parlophones, are not necessarily
the same as the true takes on master pressings) and see if you have
a take which is different from those known so far. Two of the
known alternates are Louis Armstrong items, so several others
may exist as well! In future issues, I will deal with the accom-
paniments to other singers by Fletcher Henderson units and with
the Henderson band titles for Columbia family labels, in this
same fashion. Let me hear from you at P. O. Box 501, Stanhope,
New Jersey. - -
BLUES IK REVIEW
# * * * * *
by Barry Hansen
JIMMY REED - Vee Jay 509
63-3067 SHAME, SHAME, SHAME (Jimmy Reed)
63-3069 THERE'LL BE A DAY (Jimmy Reed)
Vocals with harmonica, el. guitars, el. bass & drums.
Jimmy Reed, who has experimented with vocal groups and such
tripe on several recent discs, makes a happy return to his old
down-home style on this effort, and the public has shown unusual
discretion by making it Reed's fastest-selling single insome time .
SHAME is as intense and hard-driving as anything he has ever
done; the flip is less exceptional but still quite successful.
Limited as he is, Reed has an uncanny way of producing compel-
ling music, record after record, when left to himself.
LITTLE WALTER - Checker 1043
U-12168 UP THE LINE (W. Jacobs & W. Dixon) - 1
U-12171 SOUTHERN FEEDING (W. Dixon & B. Emerson) - 2
Vocal (-1 only) with harp, saxes, piano, organ (-2), el. .guitar
(-2), bass &■ drums.
UP THE LINE makes for interesting comparison to a 1955 Little
Walter disc, I GOT TO GO (#817). Both are uptempo songs on
the same theme. On the earlier disc Walter sings in a gripping,
high and clear voice, and plays several choruses of all-out harp ,
combining with a superb drummer for a very excitijig record.
UP THE LINE is a fair enough song, but Walter's perfor rriance is
sadly inferior to his earlier work. The strength and clarity of his
voice is gone, and the singing is weak and straining. The har-
monica style is recognizable, but Walter's chorus is quite
unrelated either to the tune or to the honking baritone saxes
which do their best to lend excitement to the date. The reverse
is a pleasant little dance number on which the large band carries
the ball most of the way, with Walter's harp lending flavor rather
than substance.
SONNY BOY WILLIAMSON - Checker 1036, Pye 7N 25191
U-12114 BYE BYE BIRD (Dixon-Williamson)
U-12115 HELP ME (Williamson-Bass) -1
Vocals with harp, guitar (electric on-1), organ, drums.
The continually evolving Chicago style has given rise to such
a hostofbanalities that oneistempted to give up on it altogether.
Once in a while, however, there is a record in the modern style
in which everything seems to jell, a record which in a flash
makes the whole development seem natural if not inevitable.
Sonny Boy's HELP ME is such a disc. It is modern all around,
electric organ and all, but the elements of great blues are present
in force: a superb piece of material, with Sonny Boy's voice (the
most thrilling since Estes) at its best, complemented by his
beautiful harp work. The organ is just right; a piano would ruin
everything. The flip, with only a brief vocal, is a harp show-
piece with fine organ counterpoint. This is very likely the best
blues single in several years; its current British release should be
warmly welcomed.
BEYOND THE IMPRESSION
REPORTED BY JOHN STEINEft
EARLIEST RECORDED BLUES?
A letter written by Levi H. Bancroft on October 20, 1884
while he was a student at the University of Wisconsin is quoted
in the November 1962 THEN AND NOW, a magazine published
by the Wisconsin Historical Society: "My dear Father and jMother
-- I don't like to ask for money and it gives me the blues so I
can't study for a couple of days whenever I think how much it
costs and how little my parents can afford to keep me here. ---«
MORE
In the mid-40's I lived with pianist Jack Gardner and suitcase
rhythmist Josh Billings just off Mich Boul on Ontario. Gardner
immortalized the place in his recording ONTARIO N BARRELHOUSE.
and in many other ways.
Billings told me about a recording date which he had made
withCondonandMcKenzie which he assumed had not been issued
because he had not encountered the record. However, I found
the record for him. the INDIANA/FIREHOUSE on Co 1946. Josh
could not then recall the name of the violinist who was the fourth
member of the group.
Interviewing Bruce Yantis a few years ago. he informed me
that he had recorded with McKenzie and Condon and Billings, and
sure enough, it was the same item. This was the only hot record-
ing Yantis ever made. However, he played with and recorded
commercial material (now apparently completely forgotten in
title or other detail) for Smith Ballew (1928-31 and 1933-34),
Meyer Davis, Will Osborne (1931-33) and Freddie Martin (1935-36).
Yantis believes that Teagarden had been invited to participate
on the McKenzie-Condon date mentioned, and recording was
held up for an hour awaiting Tea, who didn't show. Yantis
recalled that the date was so casual that he was called an hour or
two before recording time.
GOLDKETTE CORRECTION
Art Gronwall who arranged for and played piano for Cere
Goldkette during the leader's Chicago Period, supplies the follow-
ing corrections: Art's name is spelled Gronwall.
On THAT'S MY WAY OF FORGETTING YOU, Vi 21590,
the tenor sax solo is by Dale Skinner. The personnel for this
record was substantially as given for the June 26, 1928
Goldkette recording date in Jazz Records, Second Ed. How-
ever, there were no McKinney men in the band as suggested
in the same source. Bose, trumpet, not Bix.
LOVING YOU YOU LIKE YOU DO, which has not been issued
wasananged byGroowall and inaccordance with a suggestion
from Goldkette, Art wrote in a piano solo for himself.
The Goldkette band frequently featured Gronwall's arrangement
of Bix' IN A MIST. Art and Bix worked together in Charlie
Straight's band at the Rendezvous at Broadway, Clark and Diversy,
Chicago.
- AT MANHATTAN CENTER - 34th STRETT AND 8TH AVENUE -
"COUNTRY FOLK ON BROADV.AY" SUNDAY- NOVEMBER 24, 1965 TWO SEOV.'S : 2:30 and 8 PM
SPONSORED BY THE MUSICIANS AID SOCIETY. ALL PROCEEDS TO GO TO THE AGED AND NEEDY MUSICIANS
Tickets : Main Floor - $3.00; Balcony - &2.50; Students - $1.50.
Tickets available - Melody Lane Record Ranch, 1799 Kempsteed Turnpike, Elmont L.I.
Cope. Club, Secaueus, New Jersey-
Fay Ward Shop, 306 West 48th Street, New York New York
Musicians Aid Society, 1697 Broadway, New York N.Y. - JU 2-7888
STARS TO APPEAR: Ernest Tubb, Cal Smith, Jack Brake, Buddy Charleton, Jack Henry Green,
Lefty Frizzell, Hank V/illiams,Jr. , Wilms Lee, Stoney Cooper, Billy Byrd, Patti White, Peanut
Montgomery, George McCormick, Billy Moore, Jean Shepard, Mrs. Hank Williams, Shorty and Smokey
Warren, The entire Copa Club Revue
13
IN MEMORY OF JACK CRYSTAL
JAZZMAN JACK CRYSTAL DIES SUDDENLY
Jack Crystal, of Commodore Records fame, died suddenly of
a heart attack in Long Beach, L.l. , where he made his home,
Tuesday night, 15th October. He was 54. Crystal, a jazz
authority and veteran of 25 years in the jazz record business, was
the general manager of the old Commodore Music Shop which
was a mecca for jazz record collectors. The shop, which closed
■five years ago, was as Crystal once said "the pioneer and last
refuge of good jazz". In recent years he was the secretary and
guiding force behind Commodore Records, first of the jazz record
labels. He also ran jam sessions at Jimmy Ryan's and the Central
Plaza and recently promoted a series of jazz concert benefits for
the Musicians Aid Society. It was Crystal who organized those
successful benefit jazz concerts for the late Hot Lips Page and
Gene Sedric.
Funeral services were held at the Garlick Funeral Home in the
Bronx on Thursday, nth October - and the many jazz musicians
who attended included: Henry "Red" Allen, Max Kaminsky, Buck
Clayton, Herman Autrey, Louis Metcalf, Jimmy & Marion
McPartland, Sandy Williams, Benny Morton, Dickie Wells, Chief
Russell Moore, Herb Flemmirg, Conrad Janis, Tyree Glenn,
Pee Wee Russell, Buster Bailey, Tony Parenti, Sol Yaged, Eddie
Barefield, Red Richards, Clarence Johnson, Willie "The Lion"
Smith, Jo Jones, Zutty Singleton, Sonny Greer, Panama Francis,
Cliff Leeman, Herb Cowans, Jackie Williams, Beulah Bryant and-
other friends included Dan Morgenstern, Nesuhi Ertegan, Jack
Bradley, Jeann Failows, Mort Fega, Harry Lim. Jeff Atterton, Sam
Goody and songwriter Jack Palmer.
Jack Crystal, who was often called the iron lung of jazz, will
long be remembered notonly as a good friend to musicians but as
a kind and unselfish man who gave of himself and devoted his life
to jazz.
Jeff Atterton.
A TRIBUTE
My association with the late Jack Crystal goes back to early
1943 when I used to stop in the Commodore Music Shop on 42nd
St. and listen to the latest records that Commodore had recorded
featuring George Wettling, Brunies, Wild Bill, Pee Wee, Condon
and later walking out with them under my arm, This was to occur
many many times until finally it seemed I had every Commodore
record made but I knew the money was well spent because some
mighty fine sessions came from the Commodore label. During
all this time I got to know Jack more and more and better and
better and believe me, his sudden death came as a iremenuous
blow for me and too also for his many friends which include mu-
sicians and fans alike. I don't believe there is a musician alive
today who knew Jack that could honestly say a bad word about.
While he was running the sessions on Friday and Saturday at the
Central Plaza, I know he did his best to give all the musicians a
fair shake and try to give them work when there wasn't too much
around. He certainly did what he could to keep Dixieland alive
and guys like Jack, Jimmy Ryan and Eddie Condon should be
commended for their tireless efforts to keep music alive. I know
the benefit for Jack Crystal to be at the Plaza on Dec. 8th will
be a tremendous success and believe me he certainly deserves it
and it's only too bad it had to happen this way.
Mike Zaccagnino,
14
Musicians lost the greatest friend
Not only New York musicians but a friend of any musician
and singer, no matter from where they come from, be it
Mississippi or China, they all understand what I mean.
I worked many weekends for Jack at Central Plaza at a time
when I was bringing up my two girls - and could not afford the
time to go out and get a full time job because of my responsibili-
ties. Jack understood this and treated me real right, paying me
top money, seeing to it that I had proper transportation and
making my jobs as pleasant as possible. He didn't have to do
this, but his heart was so full for all of us that he often went way
out of his way to help us.
It was such a terrible shock to me when I learned about his
passing, after I recently returned from my European tour. Just
before I went overseas he comforted me about my fear of flying.
We even took a picture together for old times sake. I could never
believe that when I would return there would be no more Jack to
greet me with his impish grin at the Central Plaza and say, 'Hi
Vick, you've been a good girl' and I would give him one of my
peck kisses.
We have certainly lost a true champion. God Bless you, Jack
- Victoria Spivey.
"WHERE ARE THEY?" (Contd.)
BETTY JOHNSON, ye olde gospel singer from Carolina--
refugee from JACK PAAR's TV shows, CANDID CAMERA TV
shows, etc. is doing Summer stock on the N. E. circuit. CHET
BAKER, the alleged bad boy of the Trumpet is playing in a Paris
France club. MARIA GAMBERELLI, erstwhile ballerina of the
NYC Capitol & Roxy theatres, nowadays is a dramatic actress in
Italian movies. BILL WILLIAMS, ex COUNT BASIE sideman
nowadays works as a waiter at NYC's Cheers Steak House. JACK
BARRY, the ex-TV Quiz Master of the defunct "21 Questions",
etc. today has his own shows over Hollywood's KTLA-TV. JERRY
TITUS, ex CLAUDE THORNHILL Trumpeter, these days is a top
race car driver at such classics as tne Vanderbilt Cup races, etc.
FLOYD RAY, ex bandleader currently is a jazz DJ on a Los
Angeles FM station. Drummer KENNY CLARKE, one of the
pioneers of the bop movement and a Paris, France resident for
many years, has bought a large interest in one of the most popu-
lar Left Bank spots--the St. Germaine de Paris.
GENE AMMONS, tenor sax, star & son of tne 30s boogie woogic
pianist--ALBERT AMMONS, according to press reports—will be a
non paying guest of the State of Ill--in the Big House in Joliet--
the next two to ten years. HOAGY CARMICHAEL, Jr. , is one
son who doesn't think he's equipped to follow in his famous Pop's
footsteps -- has become a stock broker. JOHN CARROLL- -once a
darn good looking film&nite club actor-singer (orig. from N. O.)
saved his film loot--and is building multiple apt. bldgs. in San
Fernando Valley, Calif. MARY MARGARET McBRIDE. the
mararnon talker on the Mutual Network during the 30s & 40s -
nov adayj is rour Muason VALLEY NEIGHBOR" over radio station
WGHQ, in Kingston, N.Y. LALO SCHRIFRIN, DIZZY GILLESPIE'S
pianist -- quit Dlaying to concentrate on writing arrangements.
MANDY CAMPO (PUPI's brother--is entertainment dir. for the
San Juan Hotel in Puerto Rico. KAY FINEGAN, Bill's wife, ex.
singer with TOMMY DORSEYS & GLEN MILLER'S band--now is a
V.P. with Color Corp. of America. BILL FINEGAN & EDDIE
SAUTER nowadays write & direct for films, TV & records. ROD
LAUREN, who sang his way into millions of teen age hearts- -got
too temperamental for his boss Hal Wallis--is making his come
back in the film "Black Zoo". For the girls' sake--less hope Rod
plays it cool this time. If you've wondered (I have) what nap-
pened to scat-bob singer Babs Gonzales--is operating an L. A.
club tastily called "The Insane Asylum". DON REDMAN, whom
we all wellrecall--has been named mus. dir. of the new label
Barbizon Records -- also has been busy directing the band on
PEARL BAILEY'S tours.
RECORD RESEARCH AUCTION
<t)WIW.IUi OF ACCORD INFORMATION & STATISTICS U ■ V I I V If
I R#= 11205 "
AUCTION CLOSES NOVEMBER 30, 1963
AUCTION CLOSES NOVEMBER
1963
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in mvt3340H „ c „„„„ ,„,»,„„«, ,.™™. 9«K.rol»lDc, D .TaiiKina on r.oord. * 00 B0BY*30UH»tnw««.rj3»vsoi R „, „. .
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M5 *
so^motf
WIluWMV BOOOIE/sUPARHIL CELEB b ,j=i-~
251 JA2Z MErVEW BABY SI(B28T50~V 323 BEE
TINY BRADBHAW -fln< bounoIngBlu.rr..
75T IRADSHAW BOOOIE/CHALK KMC-M57M 330 OANJ
253 HATPIN/LAY IT ON LINE KTN04547E. 331
254 SOUTH ORIENT/LATER HN04664N1 "'"'
B.n)»575H
T C03363 E
r 3N *2
503 HOBSON OITY/RW D
EDDIE LOCKJAW DAVIS
5"oT Sewt.TcRed/blueheaven roosT553e#
„_ "i t ,n505 THERE'S NO U/HEY LOOK " 5Sf N
j!? MAPLE OH HILL^EWS C0H9B6fl3N^(l« ^^SS^TS n Ti»722^ M »«*NT SCAT DAVIS J BAND ^
£ RIDER/RAOKET AF351 E]
, 1aZ TBeauT.4WOHDS/sluvers"5ooinJ1
P HOORAY/WHITE M
Aemi w« «» c^ll t ; £ lu s^/el1e ^ffi^n^^y™™**.
BUSH DUST/ VI4505B E * M "ifeiv^^iSfeFpV^SFSS.SS 16 " MARTHA DAVTB-h.okOfPl^oJe.1.
153 WILD MAN bl//SHAKe"it "iNftiSBf ._
160 eoypt fantasie/e»iiijazltdioin-*i gS'g'ig'- fgrg 1 — " n - t — ™T*r*r_ „,
lO WHO SORRY ra/XlBl 5"«" "* FAUTE/SONIEOARD
?i'po-3TtTvely/.ideaheavenco967e-« J« oajjihdAolduonce 'tipfS^S- Kw'tC ^
ODJI AUSTIN TU-I 4 tHu.kSrt40tlon. "5 BLACK* BLUE/SCHEor SAV?44 If* J *' EATIK U * U */ ,,I?r -
72 r STtlf LOWER, CARELESBHANDStta UHIV H 1*6 WHO SORRY NOW/SLEEPY SAV745 Ef W
73 blue wavem/thhikdio VI205E4TSC *g oboroia/told u once sav746 e
7* HAMONl/OIftL OF DREAMS VI21334£# *« JWOLE DRUMS/HOLD *1.25WM537E#
75 CAIO DAWN/JEAHINE VI21564 E fflW .BARREL HOYS-PolRnSp.olJIl.t,
7fi CAROLINA M00NA>IE 0RADLE"21833 E gg ff l" S"TD>F/WHAT THINO VRSaiBJIgF
260MYMAH(T^-T|)/SEW VI2U6BE »3 337 NO HORA/BANAHA " tl.25»«.3J«4B# 416 WHEREVER LUV[L S .Wll.y)DE23393E# 517 3HINE/000DY OOODBYE VOSlSoEVi'
261 RATHER BE BCS/RAIN VI21B1SIW3 1938 NO CHE KNOWS (1^24) (1.2500 1JS*W H *S ..' : . , . H '!■ -^' ' ^i-uonJCROWN.Cr.olifllilDO DIESD-mjoordlon ulsuloi
ELTON BRITT 333 OH 0EE/3niPLYWILD(40t)DE3873NJl * 1? "I^NBSR0/12TH ST »1 3212 E ?l5 iW ETaRIA/TROVATORE CD.1040 E#
762 MlK HITCH VALLEY/ 712013*7 E . 34O LAST ROSE S«!MER(l321)Bil.0134iLT$l LAWR&-OE_FIANQ_ROLLC00ir 519 MPENTENOE/UNRIatnETED" 15(81*
BROADWAY BtLLHOPS.rii-1 BEC MlgPHJ 34! d KI [ j a ; Z b(nd MAD"EU10263t tftl.5O 41B 0LD 0A!I0 * KINE/UM ABBKY1501 N520 UTES * SHADOWS/MOON hW)6(>5V?
'^M«^£Ke^K>uWOttl^«^^ 3« MVI T KEU HA/FALESTEFlOiSJE*^™^^^^ VICTOR 521 .««A MOON/taLLOW MOON 3875*
'M AFTER/SETT VO^EV^" «TTLE AXEAAMA aF^^^ ** "^BOW LDVlWALJi) *&***! ^ %a „, ^ytaw.ow^xo,^,^ SSSf^S^TlSK^^rS^^ BR3B33*.
(4VT26415E#
•n*' V03150 Eft
'■-.v.-i.^i. ;[*■:,■.!;:)■,■;:;/,■..,.;,■ ,,,,-,,,.. . : . iUimv i ■;■.■.:..: : i,,.,
MILDRED BAILEY 177 BlUES TsTlAN/papt! VI20645 Ef>
B4~jEnny7mah"M!ad oone db366i e# W c *' oe »as/jamiaoafare vi2o6663e»i
85 ALL TOO SOOH/EVRYTHIN0"3aBe Si '73 TCMEZUELA/llARY BOY YI206735EAI
BS LUVER COME BACK ) ME/ DE3653tfK leD H0LB a JOE/OCLNTRY YI4!00322NE#
B? WILLOWTREElBgnnyJ/HoHEY "18108N-S' , " , '"
BEHIND THE COBWEBS (Ccntd)
BENNY GOODMAN (45 RBiS CONTINUED)
7b?5"~LE?S~DANCE/W0ODSIDE(DJ)CAP3O43$1
2876 fitoDBYE/FINER0KANUE(UJ)fiO440625$l'. Mfg. . Foundry Street, South Boston, Mass." This last smacks of
2877 VfGLVEHINE/U RIGHT CO 4PE10 $1 ' the Grey Gull factory! We have never seen this address attached
2078 SING SING,PICARIB VI EPAT412$1.50 to Grey Gull's offices and wonder if they used the factory address
2879 ST0MP5AV0Y,lt00NGLOW,ANGELSSING, I0 keep people from directly connecting Van Dyke with Grey Gull?
Addresses for Grey Gull that we've seen include; 16 MacallenSt.,
Boston, Mass. (TMW ads for Grey Gull and Radiex in TMW,
October 1928 to March 1929. Credit is "Grey Gull Records, Inc. ,
manufacturers of Radiex and Grey Gull Records. "), 693 Tremont
St.. Boston, Mass. {TMW 1919 ads for Grey Gull.), 295 Hunting-
ton Ave., Boston 17, Mass. (TMW ads in 1920 for Grey Gull.) and
135 Dorchester Ave. , Boston, Mass. (In an ad in Judge magazine,
1927, for Globe records "guaranteed to be recorded by Grey Gull"
GO0DBY£,CNE 0GLGCK- (2)EP5VIefbl099$2
REX HALE RYTffll UASTEH9 onHYTHil lp.baT
2860 DARNi DEM BONES./MAMA'SHOUSE 303
SLHI_HARP0 -LowDowiHomeBl $1,89
Z0Bi ONE MORE DAY/ULL BE SXCELL02162
COLEMAN HAWKINS, wlthDoriRBdraanOroh
TsbVbLACKVELVET/OIRL PRI GOLDCREST
SCREAllDJ JAYKAWKIKS-RoalGoneBltwIWall
TBtr3~N0T~ANYS,!0HE/BAPTIZE AP0LLO528 $1
■ ■■''■ vu-.:... . iv.:,.:./,'.!.'..:,;']...?:: r<\,':,'jW:<-\./!. .mdrit^iu'.il to Globe Record Co.}.
PLAZA (continued
CYRIL HAYNES-finePianoGQLDEN CREST
73b"5~souveklh/sophis jump(dj)5o6
J_._C.HEARD on AilOO
2086~BLUKS4SALE/FQR YCU 5308 $1
WOODY HERMAN on PHILLIPS
■2837 SCSE R0DM/SWDJ0 LOW 40003
EARL HIKES-COUNT BASIE(EP)EHARCY$1 25 .
2"938~LE ASTER LEAPSeto,BLUEMOCN8tol6036
JOE.HKTON onBACK BEAT labal
28B9*-.YILL U/FRETTY LITTLE MAMA 526
JOiD-i LEE HOOKER on VEE JAY $1 mln'
23JQ~ViCl!! THE MOOD/fcAUDIE 308
2B?1 TENNESEE BL/300GCHILLUN 31?
28J2 OflAWLIN KIN&SNAKE/HOBO BL'331
LIGHTNEQ HOPKINS $1 mln
28JJ rM~"ACH IN/LET'S HOVE HERALD 542
28?4 FLASHLITDJIN/CHANOE WAYS" 54?
2B?5 HELLO CENTRALS-IAD A3 SH AD JjOll
HOWLING ffOLF on CHESS $1„00 mln
28?Y"CHANC-E MY WAY/I'M LEAVIN 1712
28?7 I'VE BEEN ABUSED/AIRPLANEMAN1735
HELEN HUMES wlthBannyCartarCOKTEMPURAY
?83B"BTLLBAILEY/SiAINTS C45-366
PEEWEE_HUNT on CAPITOL
"2"893~FIVE FT 2,M0ONGLQW,0JGA. BROWN
2?0C HELPWALKIN ALCNG(DJ) F2312
Z301 ITS NBVEB TOO LATE/ F3004(DJ)
2302 BUMP T BUMP/ROLL MISS,F306l(Dj)
2303 PETUNIA PATCH/VANESSA F325I
DICK HYMAN on MGU(DJ ooples)PlanoShow
2*304 R0LLIN - B00GIE/SMIHNG K12258
2305 YANCEY SPECIAL(HarpslchordK12343
MAHALIA JACKSON (1 mln
■IjoCgQW TO TELL GOD/W ALKED AP 0LLO 2 31
2307 LORD PRAYER(DJ)PRECI0USLCO440753
230B HAV U ANY RIVERS/FORTUNE" 441258
AHMAD JAMAL on ARGO
23*J9~AHMAD 3U& S/IXT S FALL <DJ)5328
2?10 TANGERINESELERITUS 5337
HARRY JAKES
■29T1 LIMEHOUSE BL/VERYTHOUGHTC0438729 5398-The Hearing or The Green
2312 ONE 0CLOCKJUMJJ/20CL0CK CO450001 559lt-
2913 SHE GOT TO GO/BLUE BAIAOMGM12776
23X4BAL14AD4BEATN IKS /BLUE SUANHAT"137?8
JAZZ COlIBO(Kanne,l,lullif;an,FarraBr,Shank)
2315^1 WANT TO LIV]i!/MITEGOWJ I]MITED (DJ)
BUDDY JOHNSON ORK
23TCBRING~IT HCiiE/BRING MER70J12
2917 TUKE N0.1DONT FAIL R0ULET4134(DJ)
2918 BUDDY'S BOOG IE/DE ARL YW IN 30074
LOUIS JORDAN
■2919~CHOOBOOOIE/US CHICKENSMER71023
DANNY KAYE apeaka to for
"^"federation jewishphilantrqphi.es
STUBBY KAYE doaao nSUNSET
2"9"21~ST.JAMES INF/GREEN LITE 2013
B B KING sings BIubb on KENT
2?22~IJEAN OL FRISCO/SUGAIWAMA 323 *1
ELSA LANCHE5TER sings -Remark a by
j these
throwaway, labelled "Second December Release," is 1929
and gives no address or manufacturer's name. It does state "Sold
in this city only by S. S. Kresge Co. " In this dance series records
up to Van Dyke 71799 are listed. It can be certain Van Dyke
were issued in both 1929 and 1930. What can anyone add
facta?
Plaza 5000 series: We again continue to list masters in this
series, giving master number, tune title, artist credit and the
label and catalog number from which the data were 'obtained. We
are asking YOU to fill in out blanks, if you can! See the intro-
ductionof this series in the July 1961 issue (Number 36) for details.
See 1 each column from then on for the listings. We continue the
listing this time with 5376.
Contact us at Salem Road. RFD 2, Pound Ridge, New York
10576 or c/o this magazine. We hope to have further Ajax d;
in the near future. We also hope to have the first Perfect Errata
and Addenda shortly. Until next time.
-Imperial Dance -Ba 1510
-Original Memphis 5 -Ba 1292
-Original Memphis 5 -Ba 1?09
-Lucky Strike D.O. -Ba I50J
5576-Tripping Alcng
5577-Poncino Dan
5378-That Bran* New Gel Ot Mini
5579-Song OF The Volga Boatmen
5380-
5381-Shake Your Feet -Original Memphis 5
5382-Ain't You Ashamed -Roseland Dance 0.
5383-If You'll Come Back -Sam Lanin's .
5J81i-Sono OF The Volga Boatmen -Ferera's Hawaiian
5385-Senora -Ferera'S Hawaiian
53B6-On The Old Lake Trail -Boy Collins'
5587-Vhen Lights Are Low -Imperial Dance 0.
5588-Whose I7?y Is He(ls He Yours -Billy Jones
5389-COver Me Up vtlh The Sunshine-Jimmy Cannon
5*90-Mickey Donohue -Oalhart a Smalle
^91-Soy It With A Ukelele -Sam Lanin's
-Ba 1J09
-Ba 1330
-Ba 1308
-ga 2108
-Ba 2108
-Ba 1321
-Ba 1310
-Ba 1315
-DO ?23
-Ba 1315
'Ba 1301.
S392-She Wouldn't Do What I Asked -Six Black Diamonds -Ba 1 306
Barnes demons -Or 32?
(TO BE CONTINUED)
COWING
WORKS ON J0K CANEULLO, THEME SONGS,
LEO HEI&MAM, LEDPOIJ) ST0K0Y/SKI ,
mm eosso, crown catalogue,
NOBLE SISSLE, JOE DAVIS, DUKE
ELLINGTON, WILBUR SYffiATMAN
LOUIS METCALF DISC0G, PARAMOUNT
RESEARCH, HANNAH SYEVESTER and etc.
QUEEN VEE
SPIVEY
ANNOUNCEMENT
2936 CRAZY I'.IXUP WORLD/BABYSWEET313
2337 BACKTRACK/BE ALRrTE(DJ) 330
AUGHT0N 41.25-HWimWMD 2 ^ B BBE ** 1T UP/HEiPmEYBaOflN^a
2Srt!«; IS ,,!; If ril^ Mr - iLWTUI willee john on kino -blues
23f3 LETS ROCK.ROCKDJ GOOD S142
2323 FIOI FANNYfUAY BE LlPEeto 40^
J .3. LEKOLR-flne bluea $1.25
2"3"2"4 - 3KE DOHT KKOVt'/DADDYTALKOECi^Ol
2325 LOU ELLA/BACK DOOR SHAD 5012
LAZY LESTEH-flnt bluaaEXCELLO $1.25
23"2f"UTE TS EVENIK/I LUV 2166
RAMSEY LEWIS TRIO on ARGO(DJ)ooploa
7327~IRAQY BL/DELILAH 5322
232B I LUV PARIS/SONG DJDIA 5336
SMILEY LEWIS fine Bluaa$l onlMPERIAL
23^?"«lJEEN~HSARTS/caiE CK 5372
GDJ_A LOLLOBRIOIDA-SltarComaSBpteinbBr
2?40 PKISENTS PERSON ALpJTERVIEW
abovs onUHIVERSAL-IHTENATIONAL $3
ALAN LOMA3E "on KAPp"lIbel~DJ copy
2341~WH0S' GONNA BE UR MAN/ 271 $1
L0Nf;S0UE SUNDOWN -FlneBluesEXCSLLO
■2?42~d6nT 50/STOOD BYtl.25 2145
2343 OONNA STICK2U BABY^TT25 2163
CHARLES UARGULIS and HisOi-ohCARLTOH
2323 «UEEN OWt/IMH "»/- 2344-MALAOUEJTA7EL SALCH MEXIC0434
LIOHfflfflO SLfll-flne "»-««H^i22S jiuiYUCPARTLWD on EPIC(DJoopy)
2?50~HobD0O BL/MIGHTY CRAZY 2131
LITTLE MGHARD on SPBOIALTY $1 mln
Z33l"HEY HEY7GO0D OOLLY^iOLLY 624
2332 WONDERDJ/LITE SILVRYMOON 660
LITTLE WALTER -Bliws onCHECKER |l
2333"TAKE ME BACK/TOO LATE BRO 852
2334 THE TODDLE/GONFESSDl BL SJO
2335 ROCK B0TTOI/KEY2HIWAY 3^
T$2$yS TMBS/VaRIAN, LIBRARIAN 53261
MEMPHIS SLD1 on VEE JAY(DJ) $1
2346 - sfEPPD) OUT/OAL KEEPS 330
GLEN MILLER •Prom 'SunValley' Sound
2347 - B00MSHOT/SWEETEST20th£ENT122$_l 2 ?53 T ^^ T ?? E Ai V ' l *T n !7 £ H r j AV,: < 1,:F ) 101
ODETTA slnga onVANOUARD 35007 m-v ST[rw , B * *„'np c r™ o^T /n,\
KNUCKLES_0 ' TOOLE-HonkyTonkPno
2343 ST.LOU BL/CHEJATOVINWALDORP220
THS aUEEN ttlthEddieChamblee-BLUES
Zj$0 HONKYTQNKY/SCMEWHEREitER71383
MAE aUESTEL -tha OrlgBettyBoppGlrl
2"9"5l BABYBROTKER/TINGAL RO0ST613
JB_H REED good blues on VEEJAY \l
2^52"tf!Mbw I LUV YOU/TAKE 314
JIMMY ROGERS On CHESA-goodBluea $1
2*953~ROCKthlBHQU5E/LASTUEAL1721
BLOSSOM SEELEY-Bannj^laldsOnRev
23"54"lLuvPIANO^IANlnBOOTHMER70171*l
SEVEH LEMONS ON THE ROCKS-OooDlxlo
2355 riOYALGA RDEN/CONFESS IN S TE REO l 1 5
ARTIE SHAW GRAMERCY FIVE onBELL45i-pm
235? THAT OL PEELIN/BESAMEHUCHO1023
2357 TENDERLY/STOP & 00 1027
VICTORIA SPIVEY onOUEEN TEE.,*.*U
235s""BROWNSKINWAitMUP/1930 BL NO. 1*1
HELLO FOLKSI
"I'm proud to announce thar I have just recorded the
wonderful Roosevelt Sykes and he will be on the
SPIVEY label soon."
OTHER RELEASES:
SPIVEY LP 1001 - "BUDDY TATE INVITES YOU TO
DIG A BASKET OF BLUES" with Lucille Hegamin,
Hannah Sylvester, Victoria Spivey and Buddy Tate,
Dick Vance, Eddie Barefleld and others
SPIVEY LP 1002 - VICTORIA SPIVEY AND HER BLUES
with Victoria Spivey, Eddie Barefleld and Pat Wlslon.
COMING SPIVEY LPs: BIG JOE WILLIAMS; ROOSE-
VELT SYKES; and BASKET OF BLUES NO. 2 with some
real surprises.
All above are $4.98each!pottpald) and are obtainable
from QUEEN VEE SPIVEY, 65 GRAND AVENUE.
^RpOKL^N 5, NEW YORK, U^S.A.
TAMPA RED on VI 4?4275 $1
7?6'l~B00GIE WOOGIE WOJAN/LET .HER, BO
SAM THE MAN TAYLOR- A LLSTARS-MGM
2362 DRUMMER BOY BL/LOOK UP12441
2963 CHEROKEE/BIOPOTTAR I26"13
JOE -TURNER -Bluee •ATLANTIO(PlneStUff )
2364-WELL ALL RITE/MARRIEOWOMAN1040
2965'TROUBLE UJ MIND^JEED GIRL 1155
2966* CARELESS LUV/OOT U 2034
JERRY WALD Ork on WALD0aK(alo)Lab8l
2367 N"lrEMARE(HotSi.lng)c*REEPERl0001
MUDDY WATERS Claaaloa ' onCHESS
2368~C0MS HOME BABY/GOODNEWS I667 |1
2969 MEAN MISTREATERAaLKIN 1718 *1
2370 OOH WEE/CLOUDS InMyHEART 1724 *1
2971 TELL ME BABY/REG IPE4LUV 1733 *1
JUNIOR WELLS-gB»<l 'Mum on Profil.
2972 I COULD GRY/CHA CHA BLUE4005 $1
SCtfflY BOY WILLIAM S-WonderfulBluaaiHaioa
2973 WAlS 1 UP BABY/UR FUNERALCHECK834|1
2374 DISSATISFIED/GROSS HEARF f 3lo~*l
237* UNSEEING EYE/CONSCIOUS "927 *1
••••■ THj; mu ,,.„„
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